Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Lesotho and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1974.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Tom Boy to the grunge kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Vaughan Mason & Crew. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Gary Puckett & The Union Gap,
DNA,
Gichy Dan,
Goldenarms,
In Retrospect,
Colin Newman,
New York Dolls,
Godley & Creme,
Bush Tetras,
Half Japanese,
Blake Baxter,
the Slits,
Judy Mowatt,
Soft Cell,
Michelle Simonal,
The Moody Blues,
Amon Düül,
Todd Terry,
The Blues Magoos,
The Angels of Light,
The Modern Lovers,
Nick Fraelich,
Dark Day,
Niagra,
Marvin Gaye,
Monks,
Ultravox,
Warsaw,
Gil Scott Heron,
Mark Hollis,
Rhythim Is Rhythim,
The Birthday Party,
The Gun Club,
Slave,
Kango’s Stein Massive,
Dorothy Ashby,
Soul II Soul,
Index,
Donny Hathaway,
Massinfluence,
Man Parrish,
Gerry Rafferty,
Ultimate Spinach,
Harpers Bizarre,
Trumans Water,
Mandrill,
the Soft Cell,
Zapp,
Wally Richardson,
Franke,
The West Coast Pop Art Experimental Band,
Scientists,
Funky Four + One,
Hardrive,
Leonard Cohen,
Rahsaan Roland Kirk,
Altered Images,
Selector Dub Narcotic,
Faraquet,
Skarface,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.